An Integrated Methodology for the Conservation of

Traditional Craftsmanship in Historic Buildings

Özlem Karakul

Vol.10 2015 International Journal of Intangible Heritage 135

Traditional Craftsmanship in Historic Buildings
An Integrated Methodology for the
Conservation of Traditional
Craftmanship in Historic Buildings
ABSTRACT
The aim of conservation is to sustain both the physical and
intangible aspects of historical buildings and to transfer
them to the future. Conservation needs to consider the
intangible aspects of historic buildings as well as their
physical and visible characteristics. It is as important to
conserve and document traditional craftsmanship, the
know-how, techniques and skills of the builders, as it is to
preserve traditional architecture. Traditional craftsmanship
is one of the domains of intangible cultural heritage to be
safeguarded as defined in the UNESCO 2003 Convention. In
the field of architecture, traditional craftsmanship is
especially embodied in construction techniques and
architectural ornamentation in historic buildings.
As with the physical and architectural features of historic
buildings, the means of safeguarding of their intangible
aspects needs to be transmitted to the next generation.
Historically, the transmission process used to be through the
master-apprentice relationship. Nowadays, together with
the loss of traditional building methods and drastic changes
in building technology, the knowledge and skills of local
Özlem Karakul
Assistant Professor, Faculty of Fine Arts, Selçuk University,
Konya
Middle East Technical University, Department of Architecture,
Visiting Scholar
builders and the related cultural expressions have been
virtually forgotten by the present generation. This study
therefore proposes an integrated conservation methodology
to re-constitute master-apprentice relationships for the
sustainability of traditional craftsmanship, considering both
the intangible and tangible aspects. Such a methodology
includes both the documentation of physical structures and
of the related cultural expressions, the practising and
transferring of the knowledge of building methods and the
skills and techniques of builders to a new generation. This
methodology is illustrated by means of a workshop which
was organised in the Fine Arts Faculty in Selçuk University
for one week in May 2013 which focused on the
intergenerational transmission of the skills of ‘living human
treasures’ of traditional architecture.
Keywords
traditional craftsmanship, master-apprentice
relationships, historic buildings, conservation, ‘living
human treasures’, intergenerational transmission,
Cappadocia, Konya, tuff stone, Turkey
136
Introduction
The traditional ways of building in historic
environments, including the use of local building
materials, building techniques and the local traditional
building styles of skilled masons, constitute a significant
aspect of the authenticity of building culture (Karakul;
2013, 2011a, 2011b). The traditional ways of building in
historic environments are the product of the master
builder’s knowledge and creativity in using local building
materials, as well as in handling environmental features.
Traditional building methods have been transferred from
generation to generation through master-apprentice
relationships for centuries (Karakul; 2012). In this
regard, the maintenance and continuation in modern
building technologies is directly related to the
sustainability of the activity of masters in historic
environments and to the continuation of the master-
apprentice relationship.
Building methods have recently been the subject of
safeguarding as intangible cultural heritage, specifically
traditional craftsmanship, especially after the
promulgation of the UNESCO 2003 Convention. Although
early studies for the legal protection of elements of
intangible cultural heritage, including crafts, started in
1954 in Japan, and in 1962 in Korea (Aikawa-Faure;
2014), the UNESCO 2003 Convention helped to
disseminate the subject all over the world. The UNESCO
2003 Convention for the Safeguarding of the Intangible
Cultural Heritage1 places ‘transmission’ among the
safeguarding measures essential for the viability of this
heritage. Since the safeguarding of intangible cultural
heritage necessitates continuous practice and the
transmission of knowledge to future generations, living
practitioners need to be identified and appropriate ways
for practising need to be provided.
To facilitate the transmission of the knowledge and
skills of talented tradition bearers and practitioners to a
new generation, studies have been carried out since the
1950s in both international and national contexts. In
Japan in 1954, with the law for the protection of cultural
properties, a system of protection of ICH was launched,
and ‘Holders of Important Intangible Cultural
Properties,’ commonly known as ‘Living National
Treasures,’ including those working with classical arts
and craft techniques, were designated (Aikawa-Faure;
2014). In Korea in 1962, the concept of ‘Important
Intangible Cultural Heritage,’ including folk performing
arts, folk arts, crafts and traditional techniques, and the
concept of ‘Living Human Treasures’ was defined in law
(Aikawa-Faure; 2014). After the early studies carried out
in Japan and Korea, UNESCO endorsed the ‘Living
Human Treasures System’ in 1993.2 Within this system,
masters possessing high degrees of knowledge and skill
have been selected as a testimony to living cultural
traditions (Karakul; 2012). Regarding the continuity of
historic ways of building, this programme is also
significant for recognising and acknowledging master
builders as the creators of intangible cultural heritage,
and for transmitting their knowledge and know-how
about techniques to a new generation of workers.
UNESCO encourages States to establish national
systems of ‘Living Human Treasures’ and formulated
specific guidelines for the establishment of a national
Living Human Treasures System.3 Within these guidelines,
a preliminary measure for safeguarding the intangible
cultural heritage is to ensure its identification by drawing
up national inventories.4 However, after this identification
stage it is important to ensure that the bearers of heritage,
like master craftsmen, continue to develop their
knowledge and skills and transmit them to younger
people. In Turkey, the national version of this system is
called the National Inventory of Living Human Treasures,
and since 2008 the Republic of Turkey’s Ministry of Culture
and Tourism, within the scope of the UNESCO
programme, has tried to identify living craftsmen and
bearers of intangible heritage.5 So far, the selected
masters are predominantly those skilled in crafts and
music or are the performers of shadow puppetry. There is
only one master builder amongst them.6 Criticising the
lack of master builders on the list, this study focuses on
the transmission of knowledge of building methods, the
know-how, the skills and techniques of master builders to
new generations, and puts forward an integrated
methodology for the continuation of traditional
craftsmanship, considering both its tangible and intangible
aspects. The study also presents the implementation of
this methodology in a workshop aiming to revitalise the
master-apprentice relationship in traditional
architecture, but in a modern context.
Traditional building methods as intangible
cultural heritage
Traditional buildings have been created by the
Vol.10 2015 International Journal of Intangible Heritage 137
Traditional Craftsmanship in Historic Buildings
knowledge and the skills of builders transmitted via the
master-apprentice relationship from generation to
generation. Actually, traditional buildings come about as
a result of communication between craftsmen, their
apprentices and local inhabitants (Marchand: 2007 and
2008). In creating traditional buildings, building masters
handle environmental characteristics and the needs,
expectations and values of local people through their
skill and know-how and express their creativity. Besides
the ordering and assembling of construction materials,
their processing and installation into structures and
such practical work of construction (Bingöl; 2004, p.22;
Blagg; 1976, p.154; Marchand; 2007, p.182) buildings
also reflect cultural values and express value judgments,
the worldviews of builder and society and individual
diversity and creativity (Aran; 2000, p.122).
The concept of tradition is expressed through the
handing down of attitudes, habits, and rules (Davis; 1999,
p.17). In the area of architecture, traditional buildings
have also been created by passing on unwritten rules
carried exclusively in the mind of builders (Hubka; 1979,
p.28). In historic environments, traditional building
methods have been transmitted to the present time by
the flow of information between master craftsman and
apprentice (usta- çırak). Hubka (1979; p.28) investigates
ways of studying traditional buildings and their builders.
According to Hubka, folk design is carried exclusively in
the mind of builders and continued by tradition - the
handing down of information by word of mouth,
observation, replication and apprenticeship. Certainly
the transmission of the masters’ knowledge to their
apprentices assures the continuation of local building
traditions. To safeguard these methods, building
craftsmen as the bearers of this heritage, are beginning
to be identified through the ‘Living Human Treasures
System’.
Today, the definition of the cultural heritage of
humanity has evolved towards a holistic definition to
include intangible cultural heritage, such as traditional
craftsmanship, social practices, and performing arts,
alongside tangible heritage like buildings (Karakul: 2007,
2011b). Accordingly, an accurate approach for the
preservation of historic environments necessitates
developing integrated methodologies for the
conservation of cultural heritage. Focusing on traditional
craftsmanship, such an integrated methodology entails
understanding and preserving the know-how, knowledge
and skills of builders alongside their physical
embodiments in architecture. This methodology includes
both the architectural and ethnographical
documentation of physical features and of the related
cultural expressions, and the transmission of the
building methods, skills and techniques of the master
builders to a new generation. This study illustrates this
methodology by reporting on the results of a workshop
organised in the Faculty of Fine Arts in Selçuk University
which focused on the ‘living human treasures’ of
traditional architecture.
Revitalising the master-apprentice
relationship: a workshop with ‘living
human treasures’ of traditional
architecture
Strategies for ensuring the continuity of traditional
knowledge are needed in order to transmit the diversity
of local building practice to future generations.
Therefore, certain safeguarding measures must be put
in place so that local building methods and local
builders’ skills can be integrated into conservation
studies. Among the safeguarding measures for
traditional craftsmanship, educational and training
programmes are especially significant for the
transmission of the knowledge of builders to new
generations.7
This study concentrates on a sample training
programme to revitalise the master-apprentice
relationship in traditional architecture, carried out
during a workshop8 with the ‘living human treasures’ of
traditional architecture. The workshop had been
organised in the Faculty of Fine Arts at Selçuk University
in May 2013 for one week, and was coordinated by the
author of this article who is a conservation architect.
Besides transmitting the knowledge of master builders,
the workshop was also planned to raise awareness
about the subject in society. The groups practising the
integrated methodology of this study consisted of skilled
master builders, particularly those experienced in stone
and timber craftsmanship, from the Cappadocia region
and Konya, and students from the Department of
Sculpture working as their apprentices.
Throughout the workshop, the master builders
transmitted their knowledge and skills to three groups of
138
 Plate 1 Plate 2
Ornamented niche carved in tuff stone using Carving motifs on the niche using traditional techniques and tools.
traditional techniques and tools. Photo: Author, May 2013.
Photo: Author, May 2013.
students through a variety of exercises. The study groups
produced architectural elements and ornaments from
traditional architecture using traditional techniques of
stone and timber craftsmanship in a master-apprentice
relationship. During the workshop, the students
conducted in-depth interviews - previously prepared by
the coordinator - with the master craftsmen about their
education and apprenticeship, as well as their
experience in both restoration and new building work. All
the sessions of the workshop were recorded on camera
by the students.
1. Working in tuff stone
The first group9 was composed of three builders
from the Cappadocia Region, highly-experienced in tuff
stone craftsmanship, and three students working with
them as apprentices. This group worked on two
architectural elements of a traditional dwelling from the
Cappadocia region on a one-to-one scale and a small
scale version of a carved-out settlement. In the region,
the traditional dwellings are mainly produced by one of
two different methods, specifically, ‘carving-out’ and
‘building-out,’10 requiring two different processes of
construction, ‘subtractive’ and ‘additive’ (Stea and Turan;
1993, p.190). Due to the suitability of their geological
formation, tuff rocks obtained after the carving-out
process were also used as building stones, mainly for
the secondary walls of the building, and as infill material,
as well as in the courtyard and for the architectural
elements (Karakul: 2011). [Plates 1, 2, 3, 4]
This group first constructed an ornamented niche,
including motifs carved in the shape of a cockleshell and
circular shaped rosettes on a one-to-one scale. A great
variety of niches ornamented with various motifs are
found on the interior walls of traditional dwellings in the
Cappadocia region. During the work, the students were
taught about traditional dwellings of the region and the
meanings of ornaments and learned the carving
techniques of master builders.
Secondly, a traditional fireplace of actual size,
embellished with geometrical motifs, was worked using
an original stone block. During the process, the master
builders showed the students how to use the original
stone block alongside new materials in a compatible
way. The master builders, all highly experienced in
restoration, explained to the students the significance of
using original materials for retaining the authenticity of
architectural elements. This helped the students
become sensitive to different forms of restoration
through completing the fireplace with both old and new
stones, as well as learning tuff stone craftsmanship.
Finally, the group constructed a small scale version
of a typical carved-out settlement of the Cappadocia
region. Cappadocia is characterised by its peculiar rock
Vol.10 2015 International Journal of Intangible Heritage 139
Traditional Craftsmanship in Historic Buildings
Plate 3 Plate 4
Traditional fireplace embellished with geometric Building master working on the model of the carved-out settlement
motifs carved in tuff stone using traditional in tuff stone using traditional techniques and tools.
techniques and tools. Photo: Author, May 2013.
Photo: Author, May 2013.
formation which is the product of a very long geological
process (Erk; 1984, p.14). The geological formation of the
region has been very suitable for construction because
the stone is easy to carve and hardens after being
exposed to the air (Erk; 1984; p.34). The region has a very
undulating topography, and includes a great number of
‘fairy chimneys’ and carved-out settlements. The
peculiarity of the topographical structure and earth
formation is a dominant feature in the way settlement
characteristics and building typologies have evolved
(Karakul; 2011). A photograph of a carved-out settlement
was used at the workshop as a model for the students to
produce the small-scale carved-out settlement and
learn to carve tuff stone.
First, the head craftsman described and discussed
the general characteristics of the architectural
elements, and then other craftsmen helped the students
to draw the layout of the design on the surface of the
stone, using specific tools such as compasses and
rulers. Because the tools used by the craftsmen and
their traditional ways of carving were quite similar to the
ones used by sculpture students, the working process
was quite peaceful and relaxed. The good
communication between the builders and the students
facilitated the transmission of the craftsmen’s know-
how.
2. Working in marble
The second group11 was composed of a stone mason
from Konya who was particularly experienced in working
with marble, and three students working with him as
apprentices. This group worked on a small scale replica
of an ornamental historic column. First, the stone
mason shared his ideas about the general design of the
column with the students, especially its capital, base and
shaft, and described the process of the work including
drafting and chiseling. The capital of the column was to
be of the Ionic order and the base and the shaft of the
column included various geometric and foliate motifs.
The students first drew the motifs on the marble block
using tracing paper and then they carved them, using
traditional techniques and hand tools. Although marble
is actually hard to work, the drafting and chiseling
process was relatively easy because the marble blocks
were clean-cut and smooth. [Plates 5,6]
3. Working in wood
The third group 12 was composed of a master
craftsman from Konya, highly-experienced in timber
craftsmanship, and three students working with him as
apprentices. Firstly, the wood carver gave some general
information about his craft, particularly about relief
carving.13 The work began with a discussion about the
140
design, a geometric pattern was drawn on paper, and
was then transferred to the surface of the wood by the
students with the help of the master. The carving
process mainly involved removing wood from a flat
wooden panel using traditional techniques and hand
tools like chisels. [Plates 7, 8, 9]
Conclusion
By investigating master-apprentice relationships for
the transmission of local building traditions, this study
has underlined the significance of disseminating
information about the national inventory of ‘living human
treasures’ to educational institutions and municipalities,
and has helped the development of local studies based
on the direct intergenerational transmission of
traditional knowledge and skills from master to
apprentice. The diversity and richness of traditional
building methods in historical environments in Turkey
necessarily entails the dissemination of the ‘living
human treasures’ system from the national to the local
level. In Turkey, there are only a limited number of
master builders who are highly knowledgeable and
experienced in local building techniques and possess the
required skills. Unfortunately, they have not hitherto
been able to find an appropriate forum for the
transmission of their skills to the current generation.
Plate 5
Student carving the capital of a marble column using traditional techniques and tools.
Photo: Author, May 2013.
Thus, the cultural expressions that could have been
transferred by these masters through traditional
building methods are disappearing from the collective
memory.
The continuation of master-apprentice relationships
is the prerequisite for the safeguarding and
sustainability of traditional craftsmanship. Traditional
building craftsmanship in historic environments has
survived for centuries through the transmission of the
requisite experience and know-how of builders to new
generations. The continuity of building tradition is
especially related to the sustainability of the intangible
values of these local builders. Today, the revitalisation of
master-apprentice relationships is the only way to
ensure the continuity of tradition. This study presents an
integrated methodology to revitalise master-apprentice
relationships in traditional architecture through the
example of one specific workshop.
The experience of the workshop was noticeably
beneficial to the development of communication
between the skilled builders and the students.
Throughout the workshop, the traditional architectural
elements and ornaments were produced by the master
builders and students together using traditional
techniques and tools for stone and timber
craftsmanship. In the process, the skills, knowledge and
Plate 6
Ornamental marble column carved using traditional
techniques and tools.
Photo: Author, May 2013.
Vol.10 2015 International Journal of Intangible Heritage 141
Traditional Craftsmanship in Historic Buildings
know-how of the masters were transmitted to the
students through the production of actual architectural
elements from traditional architecture. This exercise
thereby raised awareness about traditional building
methods and the need for their safeguarding in society,
and contributed to developing local extensions of
national studies in Turkey, specific to different historic
environments.
The workshop provided an appropriate way for the
graduates of the Faculty of Fine Arts to join in the
Plate 7
Master and apprentice drawing motifs on the flat wooden panel.
Photo: Author, May 2013.
Plate 8
Master and apprentice carving the motifs on the wooden panel
using traditional techniques and tools.
Photo: Author, May 2013.
process of conserving and restoring cultural heritage.
This method of study included a series of systematic
practices which could be repeated and applied in other
educational institutions, like other fine arts faculties and
vocational schools. The integration of such studies for
safeguarding traditional craftsmanship into the curricula
of fine arts faculties and vocational schools would allow
work by master builders in the restoration of historical
buildings to be developed. Thus the implementation of
such studies provides a way of conserving both tangible
and intangible cultural heritage in a holistic way.
Plate 9
Ornamented wooden panel carved using traditional techniques and tools.
Photo: Author, May 2013.
142
ENDNOTES

1. C
 onvention for the Safeguarding of the Intangible Cultural Heritage , 32nd Session of the General
Conference, September 29 - October 17, Paris. Retrieved March 24, 2015, from http://unesdoc.unesco.org/
images/0013/001325/132540e.pdf
2. See http://www.unesco.org/culture/ich/index.php?pg=00061&lg=EN (Retrieved March 24, 2015)
3. See http://unesdoc.unesco.org/images/0012/001295/129520eo.pdf (Retrieved March 24, 2015)
4. See Article 12 in the UNESCO 2003 Convention http://unesdoc.unesco.org/images/0013/001325/132540e.
pdf
5. h ttp://aregem.kulturturizm.gov.tr/TR,12929/yasayan-insan-hazineleri-ulusal-envanteri.html (Retrieved
March 15, 2015)
6. Tahsin Kalender, a stone mason from Ahlat, is the only master builder on the list of Turkey’s National
Inventory of Living Human Treasures. See http://aregem.kulturturizm.gov.tr/TR,12929/yasayan-insan-
hazineleri-ulusal-envanteri.html
7. See Guidelines for the Establishment of National “Living Human Treasures” Systems, http://unesdoc.
unesco.org/images/0012/001295/129520eo.pdf (Retrieved March 24, 2015)
8. This workshop was previously summarised by Karakul (2014) in her article in Geleneksel Mimarinin
Yaşayan İnsan Hazineleri.
9. The master builders in this group were Adnan Açıkgöz, Salih Yaşar and Atilla Özyürek, and the students
were Elif Dertli, Meryem Hüsna Çelik and Gülay Kaya.
10. Stea and Turan (1993; p.192) use the terms ‘carved-out spaces’ and ‘built-out spaces’ among the major
architectural elements to be considered in a study of place-making in Cappadocia.
11. The stone mason in this group was Mehmet Emin Kabakçı, the participating students were İbrahim
Demir, Abdullah Bayru and Yunus İrice.
12. The master craftsman in this group was Ahmet Yılçay and the participating students were Abdullah
Gümüş, Furkan Payas and Figen Demir.
13. Relief carving is a sculptural form in which figures are carved into a flat panel of wood. See http://
en.wikipedia.org/wiki/Relief_carving (Retrieved March 12, 2015)

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